Ballet Review: ‘Giselle’ is Spooky, Sad, and Haunting
Addison Herron-Wheeler is OUT FRONT's co-publisher and editor-in-chief and friend…
I was lucky enough to catch Giselle this October at the Ellie Caulkins Opera House, and as usual, Colorado Ballet did not disappoint. The show was gorgeous and haunting, the perfect way to kick off the season after a year with no live dance.

Some context is important, as it isn’t always clear from the nuance of the performance exactly what is happening. According to the press release:
“Giselle is a story of love, death, and forgiveness. Giselle is a young woman who unwittingly falls in love with a nobleman disguised as a peasant, Count Albrecht. Upon learning of his duplicity, Giselle falls into despair and dies of a broken heart. The Wilis, vengeful spirits whose love was unrequited, appear in a forest near Giselle’s grave site to initiate her into their sisterhood and make any man who enters their domain dance to his death. Albrecht arrives to place flowers on Giselle’s grave and is trapped by the ruthless Wilis, but Giselle resolves to save him.”

EvEven if that level of detail isn’t clear, the important parts are conveyed—the love Giselle feels, then the betrayal, and then her fierceness and protection during the dance at the end. And although the story is told in a beautiful, touching, and powerful way, it’s still a bit haunting and creepy, the way the dancers in their white gowns move in unison through the haunting moonlight.
Some of the major standouts of the show, besides, of course, the gorgeous dancing and costumes, are the fantastic set designs on display here. The pandemic clearly gave the already-amazing team even more time to hone their craft, and the result is some of the most detailed and three-dimensional sets I’ve seen from the team yet.
MORE UPCOMING PRODUCTIONS
The Nutcracker | November 27 – December 24, 2021
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Romeo and Juliet | February 4 – 13, 2022
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The Wizard of Oz | March 11-20, 2022
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Ballet MasterWorks | April 15 – 24, 2022
Featuring George Balanchine’s Theme and Variations, Jirí Kylián’s Petite Mort,
and Twyla Tharp’s Nine Sinatra Songs
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Featured Image: Alexandra Wilson and Artists of Colorado Ballet by Mike Watson
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Addison Herron-Wheeler is OUT FRONT's co-publisher and editor-in-chief and friend to dogs everywhere. She enjoys long walks in the darkness away from any sources of sunlight, rainy days, and painfully dry comedy. She also covers cannabis and heavy metal, and is author of Wicked Woman: Women in Metal from the 1960s to Now and Respirator, a short story collection.






